Agatha Christie’s classic tale Murder on the Orient Express has steamed its way into Sheffield, calling at mystery, intrigue and morality, with a final destination of a fantastic evening embedded in the works of one of Britain’s best authors. With a showstopping cast and a creative use of technical ability, this show does a good job at introducing new and returning audiences to Poirot’s most famous case and leaving audiences in satisfied shock.
With the Orient Express’ passengers trapped on a snowy mountain pass, and one of their own brutally murdered, Poirot’s investigation takes him throughout the train to discover the culprit, with a terrible reality awaiting him when the case is cracked. Poirot himself, played excellently by Michael Maloney, is a clever and comedic, with his witty charm a welcome addition to a very dark story. His mannerisms and interactions with the rest of the cast is disarming and leans into many of Poirot’s lesser-appreciated tropes, a brilliant directorial decision.
Joining Maloney is Christine Kavanagh as Helen Hubbard, who’s dramatization and purposeful over-acting is the clear stand-out performance of the entire company. Her use of space and the sheer volume and stage presence she commands give her such control of the stage whenever she enters and leaves a lasting impression. One other company member who receives disproportionate attention for her role is Debbie Chazen as Princess Dragomiroff – one of the train’s passengers who’s attitude and many comical lines often leave you in stitches, and entertain at even the darkest moments.
And it’s not just the cast that leave such a bold impression! This production’s use of technical design is a league of its own. From projection to lighting and sound design, this production has clearly had a talented team dedicated to delivering it. But it is also here that the production’s greatest triumph, and yet biggest frustrations, arise simultaneously.
The strongest element of all is the set design, a magnificently detailed and modular set of train carriages, that instantly immerses viewers into the cramped quarters of a luxury transporter and is simply a marvel of set design and stage engineering. But whilst one of the most beautiful set pieces I have seen, its use seriously lets it down, and the production as a whole. For, moving this modular unit in any way is clumsy, takes a significant period of time and requires a team of ‘ensemble’ members, who are actually acting stagehands, and despite their black clothing and attempts to push themselves flat against the train carriage, are indeed very much visible.
As well as this, the carriage doesn’t fill the playing space or reach to its edges, so various awkward entrances and exits see cast members running through a black playing space and through where it is posed a train wall exists, appearing in a sealed carriage part-way through the scene. I cannot say I can offer an alternative to this system, but the immersion this production offers is regularly and frustratingly shattered.
That being said, this incarnation of Murder on the Orient Express is a brilliantly-imagined and executed production, bringing my favourite author’s story to life fantastically. Whilst it doesn’t quite reach the dizzying heights of the directors’ And Then There Were None, which came to the Steel City last year, it is a fantastic and satisfying production that is worth a first-class ticket onboard (just be sure to keep the door locked!).
Rating: ★★★★☆
Murder on the Orient Express is playing at the Lyceum Theatre until February 8th, & touring the U.K. until May 3rd
